Bedouins: $b Mary Garden, Debussy, Chopin or the circus, Botticelli, Poe, Brahmsody, Anatole France, Mirbeau, Caruso on wheels, Calico cats, The artistic temperament; Idols and ambergris, with The supreme sin, Grindstones, A masque of music, and The vision malefic; with various portraits of Mary Garden in operatic costumeHuneker, James
History
Bedouins: $b Mary Garden, Debussy, Chopin or the circus, Botticelli, Poe, Brahmsody, Anatole France, Mirbeau, Caruso on wheels, Calico cats, The artistic temperament; Idols and ambergris, with The supreme sin, Grindstones, A masque of music, and The vision malefic; with various portraits of Mary Garden in operatic costume
Huneker, James
Garden, Mary, 1874-1967; Music -- History and criticism; Sopranos (Singers)
Another time I talk with Frieda Hempel, who is one of the rapidly
dwindling race of artists who know Mozart as well as Donizetti. What a
Marguerite she would be! On the train she is like her contemporaries.
She sits. She chats. For all I know, she may doze. Singers are very
human. To fancy them as “gloomy, grand, and peculiar” is to imagine
a vain thing. In private they behave like their butchers, bakers,
candlestick makers. If they have one weakness peculiar to their tribe,
it is never to read newspaper criticism of their performances! This
is discouraging for music-critics. But the public likes sentimental
flimflam, and the opera singer is pictured as a strange and fearful
bird of prey; when seen at close range she is in reality a domesticated
fowl. The much-advertised artistic temperament is only intermittent;
even arrant bohemians are normal at least twice every twenty-four hours.
The call is sounded. Again New York! A jumble of voices is heard in
the smoking-compartment. “If you hadn’t played that trump!”--it is
Judels speaking. “Oh!” groans Papa Siedle. Scotti is now whistling
the Rataplan. The blond Ordynski, having wished the Polish curse on
Otto Weil--“may you have hangnails and dandruff!”--dons his greatcoat.
“Addio, Hunekero!” sings Caruso. After refusing Ned Ziegler’s kind
offer of “First Aid to Flatbushers,” which means his private car, I
find myself alone on the chilly concourse. The hour of disillusionment,
three past midnight. I’ve been on and off wheels with Caruso for
twelve times sixty minutes. I ponder Flatbush and the possibilities
of getting there by dawn. The scrubwomen are at work, a new postwoman
saunters along. The luncheon-room cat rubs against me, almost coos
with joy. I slink away, being superstitious regarding cherry-colored
cats, step-ladders, and cross-eyed theatre managers. (I am writting
plays.) Then, resigned to the inevitable, I seek my trusty Glenn
Curtiss hydro-aeroplane, which is anchored in the Thirty-third Street
enclosure, and fly home to Flatbush-by-the-Sea. I’ve had a crowded and
enjoyable day.
XV
SING AND GROW VOICELESS
Public-domain text, read in full here on John Shaqi.
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